11 years, 22 movies – Speaking of the cinema world of Marvel (MCU), these mathematically beautiful figures have been called countless times over the past few months, but for good reason. Talking about the film (“Avengers: Endgame”) is pretty pointless and hopeless when you ignore everything that has come before. In the closing post-titled scene of the film “Spider-Man: Homecoming,” Captain America talks about some valuable qualities – patients – that don’t necessarily deliver the expected results. But Marvel Studios itself is very well aware of the value of patience, with considerable care over ten years of building the world and living it with gradually beloved images that have now allowed the climax to be established. “Endgame” has already been called “the movie of movies” in some places, and this term looks like a movie – it is unlikely that even ten years later we will be expected to have an event of this magnitude.
“Endgame” is essentially entirely composed for fans – with all of its consequential consequences. It is worth adding such a little detail here that, with all the work done so far in the previously released 21 films, the coverage of fans in the global cinema crowd is so vast that it would be quite pointless to create a story that would be interesting for those who have not cared about the saga until now. However, if we discard such small hair fission, it is also clear that in order to gain any pleasure or pleasure from “closing”, the knowledge base on what had happened before must be. The more you know, the bigger the film’s return will be.
The references to basically all previous films here are insanely many – even ones that have lost their brilliance and the adoration of viewers over time. It is also interesting that Endgame manages to rehabilitate some of the previous films in a way that corrects the failures that have occurred or give new meaning to what has happened. In particular, it may be attributed to “Captain America: Civil War”, which at the time, when the film was released, seemed to end on a rather nondescript note (all ripped a little, but what about it?), with Tony and Steve resonating even more vividly here. Unexpectedly, much of the attention is also devoted to perhaps the unloved “Marvel” cinema world film “Thor: The Dark World.”
Even before Endgame came out, it was clear that there was going to be a business of traveling here at a time, which is a rather risky step for any film, and especially for such a franchise. When traveling in time and doing so, in keeping with the traditional “Back to the Future” principle, it is very easy to make everything that has happened so far become pointless when making changes in the past. If the past can be changed, the experience so far is painted upon being erased from existence. It is therefore pleasing that the MCU has not done this bear service on its own, instead of choosing another turn – what has happened has happened and it is impossible to change it, it is only possible to create new realities or grab something from the past to influence events in its future.
As in almost every story involving time travel, it is easy to find places to fill in, where to find holes or uncertainties. Nor does “Endgame” explain everything to the last detail, which leaves very much fertile soil for various fans’ speculation and passionate controversy. But fundamentally, it’s an elegant enough solution that doesn’t leave viewers in the role of a fool about fangling past movies and gives “Endgame” a different dynamic than we’re accustomed to seeing in movies where heroes go on trips in the past.
While “Endgame” is inextricably linked to the events of “Avengers: Infinity War,” it is understandable why, in terms of the names of this film, it was nonetheless separated from each other by renouncing the figures 1 and 2. Compared to “The War of Besgality” and its many mistakes, “The End” is a much more self-reflective, quieter and calmer story. It can be attributed to events in the film itself and to the whole MCU, Joe and Anthony Ruso, who has been in the MCU since the days of “Captain America: The Winter Soldier”, here is the opportunity to look back respectfully and refer to the past accomplishments of the entire Marvel Studios creative team and, at times, give a good-naturedly smile on how time running and everything is changing, looking at some things from today’s perspective, making it seems a little amicable now (for example, Chris Evans has consistently been great in the role of Captain America, while Steve Rogers himself has changed fundamentally over time, especially when we compare the versions of this image to Joss Wineday and the brothers Ruso).
Trips give you the opportunity to go for a walk along the memory trails, and that is what the story does, by allowing heroes to digest not only Tanos, but also by themselves, by correcting emotional errors that have later been bitterly regretted. So Tony Stark gets a chance to really say good-bye to his father, but Thor recovers his “mojo” after talking to his mother. For Steve Rogers, the trip to the 1970 s was once again keenly reminded of the lost opportunities with Peggy Carter. In global development, these moments don’t change anything, because what needs to happen has already happened, and neither Tony nor Thor can save their parents. But in an emotional way, it means an awful lot for our heroes, allowing us to find a heart.
The film also allows Natasha Romanov, the Black Widow. The debate on whether she should have been the one that sacrificed for the acquisition of the Soul Stone, or Clint Barton, is still hitting a high wave, and it must be acknowledged that when she looks at the film in the real world, Marvel’s decision to sacrifice two of the already relatively small female images in two of the Avengers films, in turn, it doesn’t look pretty. But in terms of the story, Natasha’s victim is logical in place of Clint – she has been talking about her past sins since the first film of “The Bails” and that she has tried to redeem these errors with all her work. If Rock had donated her life, Natasha would continue to run in this squirrel wheel, because she is the only one who could tell when the debt was repaid, and she could hardly admit it to herself.
In relation to Natasha’s death, there are two small elements that are crumbling a little. One of these is the moment when all the MCU superhero gathered in one place during the decisive fighting against Tanos in order to help Caroline Denvers, together, deliver the infinity stones to the quantum tunnel. Is this scene an absolute “fan service”? Yes, but it works effectively anyway. But no matter how cool the moment is, a little bit of bitterness is attributed to it by the fact that we don’t see Natasha at the front of this team. More than Natasha Scarlett Johansson’s performance, however, is the first proper MCU superhero that has been in this world almost from its very origins – we have already met him during Iron Man 2 before Chris Hemsworth’s goes in the role of Thor, Captain America’s sense of justice, and everybody else. Natasha’s fans may comfort themselves a little by the fact that the scene, of course, is also a direct reference to the “Infinity War” moment when she and Okoije went to help Wanda Macsimoor so that let us consider that in the parallel scene of “Endgame” at least these two heroines were Natasha in their minds and hearts.
The other element that makes a little bit of a mess, the more you think, is that at the end of the film Natasha’s victim, which is basically as important as Tony’s accomplishments, is not mentioned enough. Although the short conversation between Wanda and Clint is very sincere, I would like a slightly more global appreciation – it would have been enough to launch another crown of mourning in the lake. It should be mentioned here again that, although it can certainly find and think of different explanations, it casts a little of a shadow on Marvel in the context of our real world. “Marvel Studios” only in the title of its 20th film finally found a place to mention superhero as well (“Ant-Man and the WPvt”), and only film 21 — “Captain Marvel” — was a superhero solo film (greeting all trolls, your boycott worked wonderfully). Here, unfortunately, there is a situation in which two steps have been kicked forward, but then again the legs are getting a little bit, making a half step back.
But the climax of the film, of course, belongs to Tony Stark – everything started with him, so it is only legitimate that it is also the one who puts an end to this division of the MCU. As with Natasha, there is no version of the story where Tony would stop and let himself live a simple life. “Endgame” he tries it, but as in all the previous times he has tried it, he eventually allows himself to drag himself back into the chaos of the world’s bailout. Pepper also admits that Tony has no peace, no matter how much they both want it.
Tony’s story from the very beginning with the film “Iron Man” has been about his ability and his willingness to take responsibility for the effects he has worked and, at times, even indirectly. Since taking an eye to the evil that his arms business has created, Tony’s drive has always been to turn the boiled porridge in favor and prevent it from recurring in the future. But there is no time when he can tell himself that everything has been done: that is the curse of genius, that you can always do more, and Tony’s conscience has for more than a decade prevented him from sitting on the sidelines, knowing he can do something for the good of the matter. It is interesting that, no matter how often there are disagreements between them, Tony is an absolute equivalent of Captain America – Steve Rogers has also confirmed that he is unable to sit with his hands in his lap if injustices are seen, and will fight to the last breath.
With Tony’s last words (now, almost the last, he can still make Pepper’s name) I am Iron Man, both he and the whole of the MCU are closing the circle beautifully, telling us to remember what was all of us in this more than a decade-long watershed, and it was a vivid reminder of how interesting things had been together. the road. And while it has seemed sometimes impossible to remove the boundary between Tony Stark and Robert Downey’s junior, Downie, once and for all the greatest skeptics in this film, demonstrates that it is not so demanding. He is a very capable actor, shown in this film in particular not only by the closing scene of Tony’s story, but also by the beginning of the film, when Tony has returned to Earth and, in the continuing argument of “Civil War”, is throwing himself into the writhing with Steve and the others.
We will certainly be talking about the phenomenon of the world of Marvel for a long time – it is unlikely that somebody will be able to repeat it in the near future (it is unlikely that Marvel’s own studio will be able to do so soon, although of course, it will turn on – the next film “Spider-Man: Far From Home” has been waiting for us in a few months’ time). But the foundation-building elements of success have clearly been a long time since John Favro’s “Iron Man” times. These are successful, engaging images that have been given the opportunity to change and grow over the years, a wonderful tone that works to balance between sometimes childish humor and a truly serious rescue of the world, a fantastic selection of actors and a clear set of objectives and an understanding of what to do with it at all.
“Avengers: Endgame” is a measure of dizzying scale that, in the middle of all the noise and angst, never forget knocking one hand at the audience’s hearts, recalling why, in general, we have all been drawn to these goings for more than a decade, it is a pleasure to forget in an alternative reality in which I doubt that there will be anyone, good all the wrongs, just no. *
The normative nature of the Comicfilm genre has been predicted for years, but even if the popularity of this type of film begins to diminish in the near or distant future, we will hardly ever get rid of these stories. Because, in the very essence, they catch a quiet desire that certainly resides in each of us, the idea that when things are bad, there will be someone who will be in to face evil and destructive forces. It is a collective desire that the world has such a level of unhappiness and courage, altruism of the highest rank. Maybe it’s also a quiet wish for someone that he/she would be one/the one who would be prepared to face injustice.
One of my absolutely favorite scenes throughout the MCU is actually a small moment in the early part of the “Infinity War” movie, when, on arrival in New York for the services of the evil villain Tanos and beginning to sow extinction, there are a few figures that go against moving the crowd away from danger, instead in a straight line. going straight to potential death. These are, of course, our Assigners with Tony Starks at the front. This little moment embodies the appeal of the whole genre of superheroes and especially MCU movies – we want to believe that there are those between us who, with a lifted head, will go straight to danger because they can’t otherwise.
“Avengers: Endgame” is a huge thank you to everyone who has devoted time and emotion to feeling along with these heroes in 11 years. And we can also respond with just as many thanks to the entire MCU, its Master Change Kevin Faigi and a team of directors, actors and all the other players because this has been one-on-one, exciting and wonderful journey.